Images in this post from Once Upon a Crime, Dirty, and Wilt. Tomorrow? Commentary on 100 Bullets as a whole.

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I was watching Scrubs today (don’t you judge me), and the two main male characters (Turk and JD) each decided to reaffirm their love (not like that) with their respective significant others (see?).  The plotline for the lovers was pretty standard; a mention of a certain hang-up, a big fight that had something to do with said hang-up, one person changes their mind, and bam, happy ending with renewed declarations of love.

The thing is, the two male friends weren’t fighting.  They were doing wacky things and having fun, and then the whole relationship plot kicked in for both of them and made them miserable.  Kind of like it did in the episode before.  And the episode before.  And the season before that.  And the one before that.

Just like it does in most romantic comedies, wherein the two leads start out by hating each other, snipe at each other all the way through, and then declare their love at the end.

Just like it does in comics.  Ollie and Dinah are fighting.  Bruce can’t keep a girl alive, in love with him, and non-evil to, heh, save his life.  I don’t even want to talk about Tim’s relationships.   Even Lois and Clark seem to be cranking the miserometer up these days.

 I realize that this happens in every genre, that story comes from conflict, and that it’s realistic to have couples fight now and again.  But if a couple actually gets married it is important to show that they at least like each other.

I would like, very much, if there were a few couples in fiction who behaved as if they were friends.  You know, enjoying each other’s company, thinking of fun stuff to do, and doing it.  Being nice to each other.  Having the bulk of the drama come from outside circumstances instead of obvious incompatibility.  Anyone know of a few?

Images in this post from Strychnine Lives, Decayed, and Once Upon a Crime.

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Images in this post from Six Feet Under the Gun, Samurai, The Hard Way, and Strychnine Lives.

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“I’m never (expletive deleted) reading this (expletive deleted) (expletive deleted) again!  It’s (expletive deleted)!  I mean, (really filthy expletive deleted), man!  (expletive deleted) this!”

That is the familiar script of a comics reader who is taking his toys and going home.  You see it all the time.  Sometimes it’s sincere, but more often it’s just a temporary rage brought on by a few bad comics.

Is there anything that would make you swear off a book?  A writer?  A company?  Comics in general?

And, if so, what is it?

Images from this post from A Foregone Tomorrow, The Counterfifth Detective, and Six Feet Under the Gun.

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Images from First Shot, Last Call, Split Second Chance, Hang Up on the Hang Low, and A Foregone Tomorrow.

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I was recently going over David’s post about DKSA, and his point about how it exorcised some of the grimness and misery that DKR introduced into superhero comics.  While I think that he makes a good point, and one echoed by Miller himself, when he described that in DKSA he was comparing superheroes to the pantheon of Greek gods – with their failings, their enthusiasms, and their various eccentricities.

However, I have to disagree with David.  Not because I don’t think he has correctly interpreted the way DKSA changes the tropes set up in DKR, but because my difficulties with Miller’s Batman aren’t really about his grimness.

David concludes his essay with this:

Where we’ve had paranoid and grim Batman for the past fifteen years, Miller gives us one who’s faking grim but skipping like a schoolboy on the inside. Where we’ve had an utterly miserable Batman who figures out ways to trap his friends, Miller delivers a Batman who believes in the strength of others and trusts his fellow warriors.

DKSA is an exorcism. It takes all of the grim and gritty from DKR and the ensuing years and turns it on its head. It’s a push toward day-glo superheroics and away from miserable heroes. The moral of DKSA is “Superheroes are cool!”

My problem with Miller’s legacy isn’t, primarily, the grimness and misery.  That may sound strange, considering I’ve written essay after essay about my love for the lighter side of comics, and my desire for more comics to embrace fun and imagination over dark storylines.  However, it’s not the misery itself I object to, but the balance between light and dark.  I enjoy some angsty melodrama and some brutal violence as much as the next gal, I just feel like modern comics is stuffing me full of pretzels and not offering me any water, if you know what I mean.  I few more light-hearted stories, comics, or comic lines would be refreshing.

However, it’s not Batman being a miserable and paranoid that bothers me when I’m reading DKR.  It’s Batman being, how shall I put this?  A double-barrelled bastard.  Yes.  I believe that’s the technical term.  Read the rest of this entry �

First off, thanks to all of you who have sent in your ideas and suggestions for my upcoming Top 50 (or maybe 70) Deadpool Moments series I’ll be doing in a few days. The response has been pretty overwhelming and I very much appreciate it.

Of course, the more the merrier. If there’s anyone out there meaning to send in some ideas, now would be the time. Just send me an email with your suggestions and maybe a sentence or paragraph about what’s so great about said scene.

Something where I can go, “superwadefan36 says ‘This is easily the best Deadpool moment because of the way he blah blah blah blah…'”

I’m also glad to see that nobody’s suggested anything from Palmiotti’s Cruel Summer arc, which cements my theory that it’s the worst three issues in Deadpool’s entire history. Waaay worse than the old X-Force stuff.

I keep trying to think of an appropriate goodbye for 100 Bullets.

In the past year, I’ve lost The Wire, The Shield, and Garth Ennis’s Punisher MAX. After this past Wednesday, 100 Bullets is gone, too. That’s four great pieces of crime fiction, or noir, or whatever, gone in just under a year. It sucks, but they all got to tell their story to the very end. 100 Bullets is probably my favorite of the four, or at least it is right now, and I have this driving need to pay homage to it somehow.

An issue-by-issue, or trade-by-trade, retrospective sounds so unbearably pat and boring that I just can’t do it. I wouldn’t get anything out of it, and neither would you. I think instead, I’m going to do something different from what I usually do.

100 Bullets, 100 moments. I’ve said before that many moments from 100 Bullets stick out in my memory. I skimmed through all 100 issues and found 100 moments I thought I’d share.

The twist is that these aren’t going to be your usual scans_daily-style “Aw man that rules look how awesome that dude is there doing that awesome thing.” 100 Bullets excels in that Azzarello’s words, Risso’s art, and Mulvihill’s colors mesh into an amazing thing. They build characters, whether that character is a person or a city or a car. The storytelling comes from an odd angle, whether it’s from above meathooks or beneath a table.

So, here’s the plan. Five days. Twenty moments a day. I say moments, as there are a few that are full pages, but most of these are just single panels. I’ll put links at the top for the trades represented, but no commentary is coming otherwise. Just panels, posted in chronological order, that show the team at work. There will be cursing, maybe some violence, who knows.

Fans feel free to chime in down in the comments. I’m sure that a lot of these will kick up memories for you. On Saturday, I’m going to do my big 100 Bullets post to close out the week. If you don’t know 100 Bullets, this won’t spoil much, if you care about that kind of thing.

Ten new headers are up, too, to commemorate 100 Bullets week. Check out the whole series on Amazon here, and I’ll catch you in the morning.